Abstract

This chapter argues that Wittgenstein wasn’t a mere pretext for Paolozzi and that it is impossible to fully understand the artist’s work without considering his relationship to the Austrian philosopher. Furthermore, Paolozzi—as an artist—recognized various aspects of Wittgenstein’s thought and let them come to light in a period when they were still concealed to the majority of interpreters with a philosophical background. In this sense, Perissinotto demonstrates that Paolozzi’s work fully belongs to the general story of Wittgenstein’s critical reception. In order to do so, the chapter attempts a reconstruction of the cultural environment where Paolozzi met Wittgenstein, meant both as the general philosophical reception of Wittgenstein in the 1950s and 1960s, as well as Paolozzi’s direct testimony on his encounter with the Austrian philosopher. Eventually, Perissinotto systematically analyses several “wittgensteinian” works of Paolozzi to understand how much of these works is borrowed from Wittgenstein, but also what of Wittgenstein and which Wittgenstein lives and acts in them.